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SEVERANCE COLLECTION 
OF ARMS AND ARMOR 


Seeewers 











Cleveland. Olig 
MCMXXV 





VET 
ra | 











HANDBOOK 


OF THE 


SEVERANCE COLLECTION 
OF ARMS AND ARMOR 





THE CLEVELAND MUSEUM OF ART 
CLEVELAND, OHIO 
MCMXXV 


NIA 
CS4M97 
lA25 














Armor for Man and Horse, German, about 1535 


PREFACE 


Seq] RMS and armor have assumed once more the important 
Ga) position in the field of art which was theirs for so 
many centuries. During the three hundred years 
between 1400 and 1700, the armorer was recognized 
as an artist, one who wrought into beauty a very difficult ma- 
terial, and whose work had, aside from its aesthetic import- 
ance, the very vital function of defending a man against the 
danger of death. Even after its use had declined, armor 
continued to be recognized as art of high rank, but with the 
social upheavals of the late eighteenth century, there came 
a period when appreciation of fine old suits of steel was at 
its lowest ebb. Armor had been so definitely a badge of 
high station that its destruction became a symbol of the 
leveling of all ranks and was, in such deluges as the French 
Revolution, the more joyously carried on. And in countries 
where the third estate came less explosively into power, an 
even more deadly indifference and neglect had their effect. 
Armor was like too recently cast-off clothing, out of style 
without having as yet attained to respect as being ancient. 
It lacked perspective, a quality which it has only gained within 
the last fifty years. A few collectors “‘above the clouds” in art 
matters kept the beauty of armor clear 1n their minds and have 
brought together what destruction and neglect have spared. 
European museums have preserved as much for its historical 
significance as for its art value, most of the fine armor which 
has survived. Armor of significance in great families has been 
gathered in, and here and there a private collector has searched 
the field and then disposed of his findings in a group. 

In America there is not a great amount of armor. The Metro- 
politan Museum has a splendid collection, and there are, in and 
about New York, several small private collections of splendid 
quality. The Cleveland Museum has been fortunate in securing, 
by the gift of Mr. and Mrs. John L. Severance, the armor 
gathered in Europe by Frank Gair Macomber, a collection 
which contains some very beautiful pieces. These have been 





added to by more recent gifts of Mr. and Mrs. Severance, until 
the Armor Court of the Museum presents a most attractive 
display. In all there are five hundred ninety-eight pieces, com- 
prising fifteen suits and partial suits, thirty-nine separate 
helmets, many valuable pieces of body armor, and excellent 
examples of riveted chain mail, one hundred twenty-one swords 
of splendid quality, guns and gun parts, crossbows and their 
winders, maces, daggers, and eighty-nine pole arms. 

These are arranged in order of period, beginning at the south- 
west corner of the court with the earlier weapons, and the fif- 
teenth century body armor, and continuing along the south 
wall and so around, the pieces latest in period occurring on the 
north side of the court. 

HELEN Ives GILcurisv. 





CONTENTS AND ILLUSTRATIONS 


Page 
eRe AOROALINON oo Wi Ok ays wlapelon ghee HELEN Ives GILCHRIST 9g 
RIE ECS GELS nt Yk ee eM Otc Mend apes + « Ge 
Me sda oles Si a Ee Rise vost ogc nice nl 2.0 58 

I rn fed as SY teh made Cor eic Vig nak A> ave 19 
Pee leaccinet, tiauberk, and Sword, XIV Century................ 21 
@e origanaine, Italian, Early XVI Century ............. nace ae 22 
3. Suit of Gothic Armor, composed, about 1480..............0005 23 
4 Suit of Maximilian Armor, German, Early XVI Century ....... 24 
fee ererouir, late Vi Centuty. 2028 eh ee eee ae 
ee rene Century ioe yates ge ee Paes 26 
Peeeicemans Armor, English, early iXVII Century....:.:...... My 
Beeorscimicts, 4 V Century, about 1450, about 1480.............. 28 
eee teeomamiinarmets, XVISCentury. 87. 063s ce wd Fee eee 29 

Me eet rmiets. OC 1S Century ge ie den ethno ee le[e Sonia ee wsaiels «= 30 

Merete eta. OVE Century het.) i caidelt 2 dace Qcriei aye peimoees ology 31 

Meme oceset italian. late XVI Century... 0. 62. ye be he 22 

repeat y 2B oe gw eit nee vw oe wim oe aR 

Gee ener tiates, Italian, XVI Céntury. 3.0... ae eee 34 

Mera erencn. late XVI Centiry: .. 02.5 ee, - see eee eee 35 

foeea ys words, AIT] and XIV Century...........0-. 26.0.4. 36 

Memereerise  pelidnweay b Century 8. esse we cs Bie ra ee ees CH 

18 Two Italian Falchions, German Hunting Sword, XVI Century.. 38 

umpnrrcaniers Ay Century. cite eee 39 

20 Basket Hilted Swords, and a Mortuary Sword, XVII Century.... 40 

pee rev LS VIL and X:VIIT Centuries. . 2... ee 4I 

Pemeee eoedtidateun Rest; XVII Century... 0.0... ee ee 42 

23 Crossbows and Winders, XVI and XVII Centuries ........... 43 

eR eer OC ONTUIY i oh eo eo cb vse ee ee Bee 44 

pee eter Vv leand XVII Centuries «coc... 8 wie hae tees 45 

26 Axesand War Hammers, XV, XVI and XVII Centuries........ 46 

Be eoper viand carly XVI Centuries... 00. 2s es eo ee 47 

eee aeects..), SV) and XVII.Centuries. .: 2... es es ee 48 

pee ee srmor and Bits, XVI Century... ..... 2256.60.40 ee 49 

30 Maces, XV and XVI Centuries....... aac Se cara i wai ene eR 50 

fire wondacnes, opanish and German, XVI Century... /......--... sI 

pame eoodecne, staan, VI Century. 0.0. .e sed gels cet ake oo 


Frontispiece, Armor for Man and Horse, German, about 1535... 





HISTORY OF ARMOR 


PeoaRMOR has been a part of life for so many years that its 
Wal beginnings, like man’s own are lost. Primitive at first, 
W] then taking on splendor with the growth of art and 
===] with the hero worship accorded great leaders like 
Achilles, whose armor the gods made, it has come down to 
us with a double glamour. It is history and it is art, the form 
of art most closely allied with humanity and its will to live, 
a part of the very struggle for existence in the great fighting 
centuries. 

Armor, as we know it from its surviving forms, is an in- 
complete record, one that must be pieced out by consulting old 
effigies on the tombs of knights, early illuminations, seals, and 
references in the literature of many centuries. All this lack of 
actual armor only adds to the value of what is left, as the 
sibyl’s books, reduced from nine to three, became triply 
precious. 

The armor of classic antiquity was bronze, a material still in 
use for war harness in the second century B. C., though the 
Gallic soldier of that time wore less of it than the earlier Greek 
had used. The Gaul completed his defence by adding a leather 
shirt, and his shield was of wood, leather-covered, with a 
border and other strengthening parts of iron. By the end of 
that century, iron had superseded bronze altogether and the 
Roman, the greatest soldier of his age, wore a headpiece, 
breastplate, and backplate of iron, and carried an iron dagger 
(bronze-hilted), sword, and lance. Then, in varying forms, the 
use of iron and leather continued for many centuries. The 
early armorer learned to harden leather into cuir bouilli by 
steeping it in wax in which certain essences had been dissolved. 
He formed his hardened leather into breastplates of overlap- 
ping scales, into shields, greaves, and other defences. The scale 
armor, however, was not always of cuir bouilli. In the tenth 
century, we find instances of iron scales and of horn, with a 
gilded or painted surface. 





y 


Up to the middle of the thirteenth century, European armor 
could be grouped roughly as being of cloth, leather, combina- 
tions of cloth with metal or leather, and of chain mail. The best 
known cloth armor was the jack, a garment in jacket form made 
of two layers and stuffed with a medley of things such as cloth 
folded many times, bits of metal, leather, anything in fact 
which could serve as a buffer between one man’s weapon and 
another man’s skin. The jack has seemed at times a poor man’s 
defence, but in its richer forms it clad nobility as well. On the 
fateful ride when insanity first overtook him, Charles V of 
France was wearing “‘a jacke covered with black velvet which 
sore chafed him.” 

Then there was the gambeson, a quilted or gamboised gar- 
ment worn under other armor, especially under chain mail. 
The surcoat, as its name implies, was intended to be worn over 
body armor. It is not to be confused with the civil garment of 
the same name. The military surcoat first appeared in the 
twelfth century. The pourpointe differed from it in being, 
probably, heavier and more of a defence, though it, too, was 
worn over chain mail. 

The famous Bayeux embroidery of the eleventh century and 
certain illuminations of the twelfth and thirteenth centuries 
furnish grounds for believing that there were at least eight 
varieties of body armor during the three centuries, all popularly 
known as “coats of mail.’’ These were classed and described 
by the first great writer on armor, Sir Samuel Meyrick, as 
ringed, mascled, trellised, rustred, scaled, tegulated, banded, 
and chain. All of these, except the last, were made by super- 
imposing metal in small pieces upon a backing of cloth or 
leather, the differences being in the details of the construction 
and the forms of the metal pieces. The jazerant and the brig- 
andine are the cloth and metal forms most frequently to be 
met with in literature. These were corselets of steel plates 
riveted together. The difference between them, according to 
the opinion of the majority, was that in the brigandine the 
metal plates were attached to a surface of velvet or other stuff, 
while in the jazerant, the metal was outside and the inner 
surface was of cloth. The valuable brigandine front’in the 


1 Tllustration 2. Exhibited on seat in centre of Armor Court. 


IO 


Severance armor collection dates from the early sixteenth 
century, but its construction is the same as that of three 
centuries earlier. With the chain mail hauberks, it forms a 
close link between early and late armor forms. 

Chain mail is the type of armor most persistent through the 
centuries. It has played a prominent part in many wars. 
Worn over a gambeson, it afforded good protection from the 
average body blow, though a serrated mace could tear it, and 
there are instances on record of its being pierced by a heavily 
thrown spear, or by a sword thrust. Its origin was probably 
oriental, but the use of it even among the people of northern 
Europe is early. The Anglo Saxon chieftains wore “war nets 
woven by the smith;” the Crusaders crossed Europe in it; and 
its use lasted long after the introduction of plate. Its construc- 
tion was always laborious, and especially so before wire draw- 
ing was discovered, an innovation assigned to the early years of 
the fourteenth century. Before that discovery, thin sheets of 
metal were cut into strips to provide the rings. These strips, 
and later the wire, were twisted around a cylindrical bar and 
cut off. Then the ends of each open circlet were flattened and 
bored. Each ring was linked with four others, and then the 
flattened ends were riveted together and burred shut. After the 
reign of Edward J, double chain mail came in, having each link 
formed of six rings instead of four. These rings were of various 
sizes. One hauberk’ in the Severance collection is composed of 
rings ranging from one-eighth to one-sixteenth of an inch in 
diameter. Across the chest this hauberk is double-linked, and 
the border at the lower edge is made of latten rings. Another 
hauberk in the collection is formed of rings seven-sixteenths of 
an inch across. 

The chain mail hauberks of the eleventh century covered the 
head, leaving only a face opening, and they extended below the 
knees. In the twelfth century, we find chain mail suits com- 
plete from head to foot, although of course chain mail alone, or 
even worn over a coif or padded cap, was not sufficient protec- 
tion for the head. A helmet of plate was always worn in battle. 
In the early thirteenth century, there are effigies of knights in 
complete armor of chain mail, some of them with metal caps 


1Tllustration 1. To left facing rotunda entrance. 


[a 


beneath the chain hoods. Sometimes the plate helmet was 
worn over the chain mail, and the bascinet headpieces of the 
period are pierced at the edge for the attachment of a chain 
cape known as the camail, which protected the lower half of the 
head and the neck and shoulders. 

Up to the middle of the thirteenth century, the shield 
answered duty as plate body covering, being shifted to cover 
any part in need of protection. Then plates of iron, copper, or 
cuir bouilli began to be added over the knee joints, next over 
the elbows, and gradually, in the course of the next century 
and a half, the suit of plate armor was evolved. 

Headpieces changed many times in the history of armor. 
The classic type with its high, backward sweeping crest gave 
way to forms more befitting the changing demands of warfare. 
The crest was, for a time, lost sight of, and then, in Anglo- 
Saxon days, we find helms surmounted by an animal or other 
device of the knight’s family, a custom which lasted late. The 
jousting helm of the great kingmaker, Richard Beauchamp, 
Earl of Warwick, was topped by a bear erect and clinging to a 
ragged staff. There were several styles of headpiece common to 
the thirteenth century. In a single manuscript of that time we 
find the mail head covering, the low, conical helmet with nasal 
guard, the almost cylindrical helmet with very wide nasal 
guard, and the basin-like headpiece with a deep, enriched 
border. 

The seal of Richard Coeur du Lion depicts the monarch in a 
high, conical helm which comes well down over his head hiding 
his face. He looks out through an ocularium or eyeslit. The 
type of helmet which survived most lustily in the thirteenth 
century was the cylindrical helm, which gradually became 
lower until it had shrunk to a steel cap. Occasionally in the 
thirteenth century, we find a rim of plate outlining the face 
and attached, at either side, to the mail cap. 

The bascinet is the helmet’ which.carries on the sequence into 
the fourteenth century. It was at first a low cap bluntly 
pointed, but its height had increased by the first of the four- 
teenth century. Until then it was, more often than not, visor- 
less, but many of the fourteenth century bascinets were equip- 


1 Tllustrations 1, 8. To left facing rotunda entrance. 


I2 


ped with long, pointed visors, pig-faced, dog-faced, or with a tor- 
tured resemblance to a human countenance. Over the bascinet, 
the warrior often set a high helm—or presently wished that he 
had. In 1340, Froissart says of the Earl of Hainault and his uncle, 
“and eche of them had such a stroke on the heed with stones 
that their bassenettes ware cloven and their heedes sore 
astonyed.” 

It is in Froissart during the middle years of the fourteenth 
century that we find the earliest references to the salade, the 
headpiece which was the most favored type through the 
century following. It is a beautiful form of helmet, distin- 
guished by its length from front to back and its long and some- 
times pointed sloping protection down over the back of the 
neck. Some salades are in one piece, others have a movable 
visor. The salade’in the Severance collection, worn with suit 
16.1613, is of the German, one-piece type. 

Once the fifteenth century is reached, we find complete armor 
of plate in use. Suits of the first half of the century are ex- 
tremely rare, and again the evidence of contemporary docu- 
ments is sought. The knightly effigies of this period are most 
interesting. They show the gradual development towards that 
flower of all armor, the Gothic suit of the late fifteenth century. 

In the earliest of these fifteenth century suits, the sleeping 
knight wears a bascinet with camail attached, and his heaume 
or high helm is close at hand. A hauberk of chain mail shows 
below the edge of his narrow cuirass which is in turn covered 
by a tightly fitting surcoat. His shoulders are protected by 
pauldrons of several plates, and his arms are entirely clad in 
plate; his elbow cops are well jointed. His gauntlets are 
apparently of cuir bouilli reinforced by small metal plates. His 
leg armor is complete, the knee cops small, and his sollerets are 
much the same long, slender, pointed figs coverings that we 
see on the suits of eighty years later. 

With the advance of the century, the suits grow in grace. 
Less and less is cuir bouilli used. The headpiece changes so 
that the high helm is no longer needed, except for the joust. 
Some forms of the bascinet continue in use, but the salade is 


1 Tllustration 3. To right of door to Galley Vith 


a8 


developing, and a hat-shaped helmet, the chapel de fer,’ comes 
into favor. On the body armor, tuilles appear attached to the 
lengthening taces. The form of the shoulder guard varies. No 
exact date can be set down for any of the innovations. Armor 
developed at varying rates in its several parts and 1 in different 
countries. Indeed, the knight, as Laking laments, “without any 
thought or feeling for the student of armor in the future cen- 
turies proceeded in his arbitrary way, to alter the fashion of his 
head protection in one period, of his body armor in another, 
and of his leg defences and his defensive weapons in even a 
third and fourth, allowing the fashion in the case of every piece 
of armament to overlap in a most perplexing manner.” 

However, the overlappings can be kept track of by the 
student with a fair amount of accuracy after the fifteenth 
century has been reached, when actual armor can be studied. 
That fact and the beauty of the late fifteenth century suits 
instil a zest into the study which mere records cannot produce. 
At its best the Gothic armor of the last quarter of the fifteenth 
century is unrivaled. Its steel has a temper never since bettered, 
while ornamentation, though carried to a high degree of excel- 
lence, still keeps its place as secondary to protection. In 
beauty of line, in delicately traced, single ridging, and in the 
slender pointing of its parts, a late fifteenth century suit is a 
satisfying work of art. 

The Severance collection possesses one Gothic suit,’ partly 
modern, four fine Gothic breastplates,’ and three helmets of dif- 
ferent types dating between 1450 and 1480.’ The rarest of the 
helmets isan armet a rondelle. The armet, appearing first about 
the middle of the fifteenth century, succeeded the salade in 
popular favor at the end of the century, and is the form most 
often to be met with in the first half of the sixteenth. Its use 
continued after that, but an increasing number of open helmets 
had sprung into being then and were much in demand. 

The armet’ is a closed (or close) helmet, its face defences con- 
sisting of visor, ventail and bevor. The first two are some times 


1 Illustration 8. To left facing rotunda entrance. 

Illustration 3. To right of door to Gallery VIII. 

8 Tllustration 13. Trophy above door to Gallery VIII and in centre of this wall. 
4Tllustration 8. Corner to right of door to Gallery VIII. 

5 Tllustrations 8-10. 


14 


formed in one piece pierced above with an eyeslit or ocularium 
and below with breathing apertures. The bevor and the back of 
the skull are shaped in closely about the neck, and usually 
two or more rounded, laminated plates defend the back of 
the neck and, at the front, extend a little distance down over 
the gorget. - 

Sixteenth century armor begins with the Maximilian type 
whose origin is popularly ascribed to Germany. It is well 
represented in the Severance collection by two complete suits 
(16.1714 and 16.1898), and by anumber of separate helmets. 
A Maximilian suit is unmistakable. Its surfaces are rounded 
or globose, its waistline is higher than that of the Gothic suit, 
its tassets splayed wide, its sollerets are exaggeratedly square- 
toed, its terminals blunted, and its ornamentation consists of 
series of nearly parallel grooves between outlined, rounded 
ridges. The German Maximilian suits are distinctly grooved; 
in the Italian forms, the fluting is formed as ridges upon a 
rather flat background. Towards the end of the Maximilian 
period, the grooving is less used, but the form remains un- 
changed. 

Horse armor was complete during this period, less for war 
usage than for the fashion of warlike games. The joust and the 
tournament, so entertainingly described by Froissart, had 
changed mightily since his day. The rules were complex, as 
rules must be to fit so many forms of combat with dangerous 
weapons, which still must not bring about deadly results. 
There were many varieties of joust in fashion in the early six- 
teenth century, and the reinforcing guards or “pieces of 
change” were numerous. A suit was no more complete without 
its many pieces of change (sometimes as many as one hundred) 
than a golfer’s equipment would be with one club and a ball. 
A heavy German suit showing some of the reinforcing guards 
is mounted in the center of the armor court. In period it is a 
little later than the Maximilian, whose flutings and squared 
outlines lasted only about thirty years. 

Complete suits of plate continued to be made for fifty years 
more, but in ever decreasing numbers. As a war costume, they 
were becoming impractical, for weapons were outstripping 
their defensive qualities. After the Maximilian period, poor 


1 T}lustrations 4, 9. Along wall to left of door to Gallery VIII. 


aH 


material, weaker construction, and greater weight of the 
several parts characterized armor. Ornamentation increased 
in richness and variety, but efficiency lagged behind. It came 
to pass presently, that the more cumbrous pieces were left off, 
and greater attention was given to the jointing of other parts. 
Three-quarter suits, then half-suits, high-waisted and with 
long, many-jointed tassets, finish the century’s toll, and run, 
in ever decreasing numbers, through another decadent century 
before armor becomes negligible in war and in art. 

There is very little seventeenth century armor in the Sever- 
ance collection. Two guard suits of black and white, the helmet, 
breastplate and tassets of a suit of pikeman’s armor,’ and a few 
helmets comprise the entire amount. Neither is there a great 
variety of horse armor. One composite sixteenth century horse- 
barding’ is shown on the foremost mounted figure (23.1067) in 
the armor court. The crupper with its trefoil pendants is es- 
pecially interesting. 

The sixteenth century helmets’ are among the most inter- 
esting objects in the collection. Besides the armet, there are 
many fine specimens of the open forms of headpiece, the high- 
crested, swooping brimmed morions, and the pear-shaped 
cabassets, narrow of brim and having a small stem at the apex 
of the skull, the burganets of bonnet form, crested, and having, 
usually, hinged ear pieces and an umbril. An outstanding hel- 
met of the Severance collection is the Italian cabasset* with its 
finely traced bands of ornamentation on which evidence of the 
old gilding can still be seen. 

The weapons of the centuries speak for themselves more 
clearly than does the armor. From the dawn of history there 
have been swords, simple in form at first, and indeed varying 
little from that simplicity of wheel or Brazil nut pommel and 
straight crossguard below a wide blade, until the late fifteenth 
century was reached.’ After that, as swordplay developed, the 
many sword guards appeared which finally attained a graceful 
1 Illustration 7. Wall to right of entrance to rotunda. 

2 Frontispiece. 
3 Tllustrations 10-12. 


4 Illustration 12. Case 5 to left of entrance to Gallery ILI. 
5 Illustration 16. Case 8 to right of entrance to Gallery VIII. 


16 


and satisfying climax at the end of the sixteenth century.’ 

Pole arms’ too, remaining simple, business-like and deadly 
weapons of war through the first quarter of the sixteenth 
century, began then to add ornamentation and to decline 
gradually to parade usage. Richly engraved with the arms of 
noble families, the halberds of the late sixteenth century* must 
have added vastly to the magnificence of the household of 
many a Capulet and Montague. 

Among the smaller weapons, daggers show an interesting 
development. The early forms, the kidney-lobed hilts, and the 
dague a rouelle are each represented by one specimen in the 
Severance collection.* 

The later forms of the sixteenth, séventeenth, and eighteenth 
centuries show a greater variety of ornamentation, exquisite 
carvings in full relief of men and animals, damascening in gold 
and silver, and fine piercing of bright steel in Renaissance 
designs. The blades, too, of these later daggers show a great 
variety of forms in little—serrated, perforated, panelled, 
rounded, and arrow-pointed.’ 

The mace ran a course of many centuries, without great 
change of form.’ Crossbowmen and knightly leaders, as well, 
carried and made heavy use of the mace in the fourteenth 
century. In the sixteenth century forms, one finds a variety 
chiefly in the shape of the flanges composing the head and in 
the increase of ornamentation over that used on the earlier 
forms. The later heads are usually larger, and the handles are 
less sharply differentiated from the hafts. The mace, after its 
period of war usage, became a symbol of authority, and was 
finally succeeded in that office by the baton. 

The bow has an interest all its own, connected as it is with 
old tales of forestry and with the earliest conflicts before wars 
began. It was a perishable thing, and once its day was past, 
not even the repeated edicts of kings could revive it. The long 
bow had its greatest popularity among the English in the 


1 Illustration 17. Case 8, Case 23, Trophy over door to Gallery VII. 
Illustration 18. Case 27, Case 23. 

- 2Tilustration 24. 

3 Tllustration 25. 

4 Illustration 27. Case 8 to right of entrance to Gallery VIII. 

5 Illustration 28. Case 25 to right of entrance to Gallery VII. 

6 Illustration 30. Case 7 to left of entrance to Gallery VII. 


17 


latter half of the fourteenth century and throughout the 
fifteenth. The crossbow was more in favor among European 
nations during the same period and for another hundred years 
after the longbow had passed out of existence. Several excellent 
crossbows’ are to be found in the Severance collection. Their 
polished chestnut stocks are overlaid with carved ivory. The 
cog and ratchet winders of a few of them are also displayed. 
Their bolts, winged with wood or leather, have likewise sur- 
vived in fairly large numbers. On some of these bolts the 
wings are spirally set to produce a spinning motion in the 
arrow in flight. 

The fire arms of the Severance collection are chiefly of the 
late sixteenth and of the seventeenth century, prominent 
among them being a rare Sardinian wheel-lock rifle,’ a pair of 
gold-mounted duelling pistols signed by Massin, and a ball- 
butted Ripoll pistol of the eighteenth century.* With these are 
displayed powder flasks and primers of wood, bone, metal, and 
leather, some of them decorated with fine carving in relief. 

There is but one variety of shield in the armor court, the 
rondache, a parade form of the sixteenth and seventeenth 
centuries. Three of these are noteworthy, one a Spanish shield of 
bright steel having a wreath and crucifix in full relief about the 
center.’ The second is a German shield decorated by Peter von 
Speier‘ with mer-centaurs in combat, while the third is a beauti- 
fully damascened, russet shield, the work of Hieronymo Spacini 


° 5 
of Milan. | 
f Mi HELEN Ives GILCHRIST. 


1 Tilustration 23. Case 7 to left of entrance to Gallery VII. 

2 Illustration 22. See standing floor Case 35 by entrance to Gallery VII. 
3 Illustration 21. Case 6 to right of closed entrance to Gallery III. 

4 Illustration 31. 

5 Illustration 32. Case 5 to left of entrance to Gallery II. 


18 


ILLUSTRATIONS 




















ILLUSTRATION, 
Bascinet, Hauberk of Chain Mail, and Sword, XIV. Century 
See History of Armor, pages 11-13 


i) 
= 





andine, 
See History of Armor, page 10 


ILLUSTRATION 2 
and outer surface of a Brig 


XVI Century 


Inner 
y 


, Earl 


lan 


al 


It 


a 
ea 








ILLUSTRATION 3 
Suit of Gothic Armor, composed, about 1480 
See History of Armor, pages 13-14 


= 


+ 
Z 
= 
= 
<q 
ee 
~ 
Y) 


fULU 


about 1520 


German, 
, page 15 


’ 


Armor 
y of Armor 
24 


7 


ilian 
istor 


See H 


1m 


it of Maxi 


Su 








ILLUSTRATION 5 
Suit of Ecrivisse Splint Armor, Latter half of XVI Century 


aS 


ILLUSTRATION 6 
Suit of Armor with reinforcing pieces for Tournament Fighting 
Spanish, XVI Century 


26 








ILLUSTRATION 7 
Pikeman’s Armor, English, Early XVII Century 
See History of Armor, page 16 





ILLUSTRATION 8 


Bascinet Chapel de Fer 
Italian, XIV Century Italian, about 1450 


Two views of Armet 4 Rondelle 
North Italian, about 1480 
See History of Armor, pages 12-14 


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ILLUSTRATION 10 
Armet Armet 


German, XVI Century English, Early XVI Century 


Two views of Armet 
German, about 1545 
See History of Armor, pages 14-15 


30 





ILLUSTRATION 11 


Two Morions 
German, about 1585 Spanish, about 1580 


Two Morion—Cabassets 
French, about 1550 Italian, XVI Century 
See History of Armor, page 16 


31 





9 
VI Century 


1 


uf 


» page 16 


, Late X 
f Armor 


istory of 


USTRATIO 


4 


tie 
Cabasset, Italian 
See Hi 


32 





ILLUSTRATION 13 
Four Gothic Breastplates 


Left, Late XV Century Right, XV Century 
See History of Armor, page 14 


33 





ILLUSTRATION 14 
Espalier or Shoulder Plates 


Probably by the Milanese Armorer, Negroli 
Italian, XVI Century 


34 





Pee LRA PIONS 
Colletin, with Engraved Bands of Silver Gilt 
French, Late XVI Century 


38 


ILLUSTRATION 16 
Early Swords, XIII and XIV Centuries 
See History of Armor, page 16 


36 





See ae ee 


NE OEREEIES I 


6 


Soe sane 


espana eae 
Ber ase 


ml 


pages 16 


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XVI Centur 


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Italian 
istory of Armor 


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Pa 
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Wy 
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—_ 


Swords, 


See H 








ILLUSTRATION 18 
Two Italian Falchions and German Hunting Sword 
with dissecting implements, X VI Century 


38 





ILLUSTRATION 19 


XVII Century 


erg, 


. 


ix Rap 


S 


39 


Vv 


Swords and 
XVII Centur 


40 


i 


a Mortuary Sword 


H 


ket 


S 

a 

Zz, 

4 
ae, 
ae 
7s 

n 

= 

= 


Four Bas 








ILLUSTRATION 21 
Pistols, XVI, XVII and XVIII Centuries 
See History of Armor, page 18 


41 


Oa BAe 


Coon 


Pe. * 
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B26 
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awn 


1 


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42 





ILLUSTRATION 23 
Crossbows and Winders, XVI and XVII Centuries 
See History of Armor, page 18 


43 





ILLUSTRATION 24 


age 17 


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See H 


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, XVI and XVII Centuries 


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ILLUSTRATION 29 
Horse Armor and Bits, XVI Century 
See History of Armor, pages 15-16 


49 





1es 


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Het real 
ae 
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tl . 

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ILLUSTRATION 31 
Rondaches, Spanish and German, XVI Century . 
See History of Armor, page 18 


Si 





ILLUSTRATION 32 
Rondache, probably by Hieronymo Spacini, Italian, Late XVI Century . 
See History of Armor, page 


GLOSSARY 


Arbalest—a crossbow. 

Armet—a close helmet with bevor 
and movable visor. 

Arquebus—a musket first used in 
the sixteenth century. 

Bardiche—a variety of pole axe with 
long, narrow, crescent blade. 

Bastard Sword—a long sword for cut 
and thrust, with grip on which 
two hands can be placed. Some- 
times called hand-and-a-half 
sword. 

Bear-paw—the wide-toed foot cov- 
ering or solleret of the early six- 
teenth century. 

Bevor—the chin-piece of a helmet, 
or a separate chin and neck de- 

fence worn with an open helmet. 

Bishop's Mantle—a cape of chain 
mail. 

Brassard—entire arm defence, vam- 
brace, coudiére, and rerebrace. 


Brayette—plate or mail covering for 
the fore-body. 

Bretelles—\ong metal strips which 
clasp the haft of a pole arm, 
sometimes called cheeks. 

Brigandine—a jacket of small plates 
riveted to a covering of fabric. 

Buffe—a movable face defence of 
two or more plates, used with an 
open helmet. 

Burganet—a light, open helmet, usu- 
ally with hinged ear pieces and 
an umbril. Sixteenth and seven- 
teenth centuries. 

Cabasset—a pear-shaped, open hel- 
met with a narrow brim all 
around, having no comb, but, 
instead, usually a small apical 
stem. Sixteenth century. 

Calthrop—a thorn of steel used to 
strew a battle field and break 
up a cavalry charge. 


$3 


Camail—a hood or tippet of mail at- 
tached to the skull of early hel- 
mets. 

Casque—a helmet; sometimes used 
toreferspecifically tothe late six- 
teenth and seventeenth century 
helmets made on classical lines. 

Casquetelle—an open head piece with 
umbril and a long neck protec- 
tion of several plates at the rear. 
Sixteenth and seventeenth cen- 
turies. 

Champs-clos—the lists or field in 
which jousting or a tournament 
took place. 

Chanfron—a plate defence for the 
face of a horse. 

Chapel de fer—a broad-brimmed 
helmet of hat form. Twelfth to 
sixteenth century. 


Cheeks—the strips of metal which 


fix the head of a pole arm to the 
haft. Sometimes called bretelles. 

Cinquedea—a short, broad-bladed 
dagger, five fingers wide at the 
hilt end of the blade. 

Colichimarde—sword blade of trian- 
gular section, narrowing above 
the center. Supposedly invented 
by K6nigsmark (Maréchal de 
Saxe). 

Colletin—a gorget, a neck defence. 

Comb—the crest of a helmet. 

Coronal—a rosette or button fixed 
on the tip of a lance in some 
forms of tilting. 

Coude—elbow-pieces of plate. 

Coudiére (English term, elbow cap)— 
elbow-pieces of plate. 

Crinet—a series of plates to protect 
the neck of a horse. 

Cuir bouilli—leather steeped in wax 
in which certain essences have 
been dissolved, a material much 


used for making armor in the 
thirteenth and fourteenth cen- 
turies. 

Cuirass—body-armor. 

Cuisse—thigh piece of plate. 

Dagger @ rognons—a dagger having 
kidney-shaped projections above 
the quillons. 

Dagger @ rouelle—a dagger with 
circular disks at either end of 
the hilt. 

Ecrivisse—armor made from _nar- 
row, overlapping plates riveted 
together, sometimes called splint 
armor. 

Elbow gauntlet—a metal or leather 
glove with cuff reaching to the 
elbow. Sixteenth and _ seven- 
teenth centuries. 

Espalier—shoulder defence of plate. 

Estoc—a thrusting sword. Four- 
teenth to seventeenth century. 

Falchion—a sword with wide,,curv- 
ing blade. Fourteenth to seven- 
teenth century. 

Fauchard—a pole arm having a 
large, convex-edged blade, and 
a small projection often cres- 
cent-shaped at the back; a six- 
teenth century form of glaive 
for ceremonial uses. 

Feather-staff—a pole arm carried by 
an infantry captain in time of 
peace, consisting of a hollow 
staff from which spikes are re- 
leased by a spring. 

Flamberge—a two-handed sword 
with wavy or flamboyant blade. 

Flanchard—armor for the flank of 
a horse. 

Gadling—raised knuckle plate of a 
gauntlet. 

Gambeson—a quilted tunic worn 
under chain mail. 

Garde de rein—loin guard of armor. 

Genouillére—jointed knee piece of 
plate. 


54 


Glaive—a pole arm. The term has 
been loosely ace to every 
variety of pole arm and to 
swords. Research suggests 
strongly that in the closest con- 
notation of the word, it was a 
pole arm having a long, wide, 
convex-edged blade whether 
there were projections at the 
back or not. Fauchard, bill, and 
guisarme are all of the glaive 
type. Froissart speaks expressly 
of a glaive which had a long 
hook at the back of the blade 
for use in pulling down the de- 
fenders of a wall. 


Gorget—a wide collar of plate, a col- 
etin. 


Greave—shin defence of plate. 


Guisarme—a pole arm of the glaive 
type, having a long, convex- 
edged blade and one or two 
straight projections at the back. 


Gussets—originally chain mail pieces 
tied on to cover those parts of 
the body not protected by plate 
armor. Later, the plate or the 
ridge on a breastplate following 
the contour of the under arm. 


Halberd—a pole arm having a short 
axe blade at one side, a beak at 
the back, and an apical spike 
above. The name is sometimes 
applied to any form of pole arm 
as a generic term. 

Hand-and-a-half sword—see bastard. 

Hauberk—a shirt of chain mail. 


Holy-water sprinkler—a spiked knob 
appended by a chain to a short 
shaft of wood or iron. This name, 
in catalogues of English collec-. 
tions, is often given to the 
weapon known in European 
armor works as a morgenstern, 
a long shafted weapon with a 
spiked knob attached directly 
to the shaft by bretelles. 


Famb—armor for the lower leg. 


Foust—a contest between two ar- 
mored knights, fought according 
to fixed rules. 

Lance-rest—a projecting finger of 
steel fixed to the right side of a 
breastplate to steady and bear 
the weight of a lance. 

Landsknecht—a term applied to 
armor or weapons of a type used 
by German infantry of the six- 
teenth century. 

Latten—a mixture having very near- 
ly the composition of modern 
brass. 


Linstock—a combination of pike 
and match-holder used by gun- 
ners for firing cannon. 

Main gauche—a dagger used by the 
left hand when the right held a 


sword. 
Martel de fer—a war hammer. 


Match-lock—a fifteenth century fire- 
arm with touch hole, and fired 
by a match. 


Maximilian armor—a style of plate 
armor of the first thirty years of 
the sixteenth century, distin- 
guished by broad outlines and 
outlined, rounded ridges, and 
shallow flutings. So named in 
honor of the Emperor Maximi- 
lian I. 

Mitten gauntlet—a hand protection 
in which the fingers are not 
separate. 

Morion—a light, open helmet with 
a crest and a swooping brim 
pointed fore and aft. - 

Morgenstern—a spiked knob at- 
tached to a long shaft by bre- 
telles. See note on holy-water 
sprinkler. 

Moulinet—the winder of acrossbow. 

Nasal—a steel bar attached to the 
front of an open helmet for pro- 
tecting the nose; in use com- 
monly during the eleventh and 


twelfth centuries, revived later 
in some forms of seventeenth 
century helmets. _ 

Ocularium—the eyeslits in the visor 
of a helmet. 

Palettes—circular plates to protect 
the armpits. 

Partisan—a pole arm with long 
shaft, and broad blade having 
two small, balancing lateral pro- 
jections at the base. Sixteenth 
and seventeenth centuries. 

Pas d’ane—loops of steel immedi- 
ately over the cross guard of a 
sword, little used before the six- 
teenth century. 

Pauldrons—shoulder pieces of plate. 

Pavise—a large shield used by a 
bowman. 

Peascod—a breastplate witha prom- 
inent central ridge running to a 
point below the waistline, used 
from the middle of thesixteenth 
century on. 

Peytrel or poitrel—steel covering for 
the chest of a horse. 

Pied-de-biche—lever for a crossbow, 
goat’s foot type. 

Pike—a long shafted weapon with 
lance-like head, used by foot- 
men. 

Placcate—the lower of two plates 
forming a cuirass. 

Plastron—a breastplate. 

Pole axe—a long shafted axe with 
spear-pointed blade, a beak, and 
sometimes an apical spike. 


Polichinelle—literally a buffoon or 


55 


“Punch”, a name applied to a 
late sixteenth and seventeenth 
century jacket. 

Poulaine, a la—sollerets with long, 
extremely pointed toe plates, 
the name meaning “prow of a 
galley.” 

Prick Spur—a spur having a single, 
fixed point instead of a rowel. 


Quarrel—a crossbow bolt or arrow. 
Quillons—the cross guardof asword. 


Ranseur—a pole arm having three 
long blades, the center one long- 
est, the side blades extending 
obliquely upward. 


Rerebrace—armor for theupperarm. 


Ricasso—the section of the sword 
blade next above the quillons, 
thick and squared. 


Rivet—the term formerly meant a 
suit of armor, but is more com- 
monly used to refer to the small 
nails which fasten the plates to- 
gether. 


Rondache—a circular shield. Fif- 
teenth and sixteenth centuries. 


Rondelle—a circular plate; its po- 
sition is varied, rondelles being 
used at the back of the neck in 
an early form of armet, and, in 
some fifteenth and sixteenth 
century suits, to protect the 
armpits. Rondelles or rouelles 
occurred at either end of the hilt 
of an early form of dagger. 


Runka—a sixteenth century pole 
arm of ranseur type. 


Salade—a helmet most popular in 
the fifteenth century, though its 
use is mentioned in the four- 
teenth by Froissart. Its distin- 
guishing feature is its length 
from front to back, and the ex- 
tension of the rear to protect 
the neck. An open helmet, some- 
times in one piece, with an ocu- 
larium cut in the front of the 
helmet which comes down over 
the upper half of the face and is 
worn with a bevor, sometimes 
having a separate visor plate 
attached. 


Schiavona—a basket-hilted sword 
of the seventeenth century, a 


type carried by the Slavonic 
guards of the Doge of Venice. 


Shell—a shell-shaped guard on cer- 
tain forms of rapier of the end 
of the sixteenth century and of 
the early seventeenth. 


Sliding rivet—a rivet fixed on the 
lower of two plates, and mov- 
ing in a slot on the upper plate. 


Snaphance—an early form of flint- 
lock, in which the pan has to 
be uncovered before firing. 


Sollerets—shoes of plate. 


Splint armor—that formed of nar- 
row, overlapping plates, usually 
set together with sliding rivets; 
see eCcrivisse. 


Spontoon—a parade pole arm with 
broad central blade and smal- 
ler, balancing lateral projections, 
a later development of partisan 
in use during the seventeenth 
and eighteenth centuries. 

Standard of mail—a collar of chain 
mail. Fifteenth century. 


Taces—laminated plates attached 
to the lower part of a breast- 
plate, running the full width of 
the breastplate. 

Tang of asword—the narrowed end 
which fits into the hilt. 


Tapul—the central ridge prominent 
in some forms of breastplate. 
Targe—a round shield. Viollet le 
Duc says that the targe first 
became a specialized form in the 
fourteenth century. 

Tassets—plates attached at either 
side of the taces to protect the 
front of the thighs. 

Tiddle—the button atop a sword 
pommel. 


Timbre—crest of a helmet. 
Touch-box—a box for flint and steel. 


56 


Tournament, Tourney—a contest 
waged under fixed rules by a 
party of knights against an op- 
posing party. 

Tuilles—plate defences in one piece 
for the front of the thighs, used 
in fifteenth century armor 
before the smaller, laminated 
plates of tassets made their ap- 
pearance. 


Umbril—an attached frontal brim 
somewhat like the visor of a 
modern golf cap, used on some 
forms of open helmet of the lat- 
ter half of the sixteenth century 
and in the seventeenth century. 

Vambrace—the plate defence for the 
fore-arm. 

Vamplate—a circular shield fixed 
above the grip of a lance. 

Ventail—that part of the face de- 
fence of a helmet which covers 
the middle of the face; it is 
pierced with breathing aper- 
tures. 


Vervelles—loops attached to the 
border of an early helmet, from 
which a collar of mail was hung. 


Vireton—a crossbow bolt or arrow 
whose wings are spirally set to 
produce a spinning motion in 
the arrow. 


Visor—that part of the face defence 
of a helmet which protects the 
eyes and is pierced by an ocu- 
larium. When the face protec- 
tion is formed of three plates, 
the upper is the visor, the mid- 
dle plate the ventail, and the 
lowest, the bevor. 


Vouge—a form of pole axe having a 
broad blade pointed at the head. 
Usually the shaft passes through 
two iron rings forged at the back 
of the blade, and a spike is af- 
fixed to the upper end of the 
shaft. The parade vouge of the 
sixteenth century varies the form 
chiefly by the curves of its edge 
and of its spike. 





57 


SUITS OF ARMOR 


FOR 8 @ 


6 
( 
a= 
~\ & 
eae o F 
t* 3 2a 
HELMETS 
| q 
e @ Rn e= 
KAR ae 
ES 
10 Il on > ee 
ae hl 
© & iP ow <A 
14 15 16 e 
BODY ARMOR 
We 
oN Gd 
D & ae 
17 18 i Hi 


58 


ARMORERS’ MARKS 
SUITS OF ARMOR 


. Mark of Arsenal of Zurich, xvi century, Swiss. A 2.* 


— 


. Early xvi century, German. A 2. 
. Early xvi century. A 2. 
. Wolf of Landshut, about 1540, German. A 6. 


. XVI century, German. A 6. 


Nn & W Wb 


. XvI century, German. Occurs with Wolf of Landshut 
mark. A 6. 


7. XVI century, German. A 13. 
8. xvi century, German. A 15. 


g. Early xvi century, German. A 16. 


HELMETS 
10. Tomaso Missaglia, about 1450, Italian. B 2.* 
11. About 1480, North Italian. B 3. 
12. Early xvi century, German. B g, p. 44. See A 2. 
13. Xvi century, Spanish. B 23. 
I4. xvi century, Italian. B 25. 
15. 1570, Italian. B 26. 
16. About 1585, German Saxon. B 3o. 


BODY ARMOR 
17. xv century, Italian. C 2. 
18. Late xv century, Italian. C 3. 
Ig. XVI century, German. C 7. 
20. Middle of xvi century, Armory of Constantinople. C 8. 


*The numbers A2, B2 etc. refer to Severance Catalogue and to numbers on labels in Armor Court. 


59 


SWORDS 





21. 
22. 
231 
24. 
ai. 
26. 
Chef 
28. 
29. 
ao, 


aT; 
ke 
33+ 


SWORDS 
mov century. E 2. 
xv century, Austrian. E 5. 
xv century, German. E to. 
Toledo mark, xv century, Spanish. E 11. 
xyecentury..b, 12. 
Late xv century, Venetian. FE 14. 
End of xv century, Italian. E 15. 
XVI century, German. E 18. 
Early xvi century, Florentine. E 21. 


“Wolf” mark on blade of Italian sword. Mark is early 
xvi century, German. E 22. 


Early xvi century. E 22. 
“Wolf” mark, xvi century, German. E. 23. 


First of xvi century, Italian. E 24. 


61 


SWORDS 








39 


38 


By, 


43 


4I 


40 


62 


34: 
35+ 
36. 
37: 
38. 
39: 
40. 
AT 
cphs 
43- 


SWORDS (Continued) 


Early xvi century, German. E 25. 

xvi century, Italian. E 27. 

“Wolf”? mark of Solingen, xvi century, German. E 3o. 
Mark of Johannes Wundes, xvi century, German. E 30. 
XVI century, German. E 30. 

XVI century, German. E 31. 

Toledo mark, xvi century. E 32. 

xvi century, North Italian. E 35. 

XVI century, Swiss. E 36. 


xvi century, Italian. E 39. 


63 


SWORDS 








§2 


Le! 


<p 
wm 


54 


58 


57 





61 


64 


44. 
45. 
46. 
47: 
48. 
49. 
50. 


si 
(spoke 
53. 
54. 


55: 


56. 
57: 
58. 
59. 
60. 
61. 
62. 
63. 


SWORDS (Continued) 
End of xvi century, German. E 41. 
End of xvi century, Spanish. E 42. 
End of xvi century, Italian. E 43. 
1590, German. E 44. 
Xvi century, Italian. E 46. 
Late xvi century, Italian. E 47. 


Late xvi century, mark on Potzdam blade of Venetian 
sword. E 48. 


End of xvi century, Italian. E 4g. 
End of xvi century, Italian. E 51. 
Antonio Picinino, end of xvi century, Italian. E 52. 


“Wolf”? or running fox mark on Italian sword, early xvir 
century. E 55. 


Clemens Horn of Solingen, first quarter of xviI century, 


German. Hilt, Flemish. E 57. 
First of xvii century, German. E 59. 
About 1620, German. E 61. 
“Wolf? mark, about 1620, German. E 61. 
About 1620, German. E 61. 
Early xv century, German. E 63. 
Oya talian, L 65. 
xvii century, Italian. E 68. 


xvi century, Venetian. E 69. 


65 


SWORDS 





65 


64. 
65. 
66. 
67. 
68. 
69. 
70. 
aA% 


72. 


73: 
74. 


75+ 
76. 
77: 
78. 
79: 
80. 
SI. 


SWORDS (Continued) 

Xvi century. E 71. 

XVII century. E 72. 

mveecentury. Hi 75. 

Solingen, 1640-1666, German blade on French hilt. E 78. 
XVII century. E 79. 

XviI century, German blade on Scotch hilt. E 84. 

XviI century, German blade on Scotch hilt. E 84. 


Solingen, xvii century, German blade on Scotch hilt. E 
84. 

Solingen, xvii century, German blade on French hilt. E 
90. 

End of xvit century, Italian. E 94. 


Solingen, xvi11 century, German blade on Spanish hilt. 
E 99. | 


GUNS AND GUN PARTS 


XVII century, Caucasian. F 6. 

XVII century, Sardinian. F 9. 

1618, Spanish. F to. | 
Early xvu century, Italian, Brescian. F 14. 
First half of the xvir century, German. F 18. 
XVIII century, Oriental. F 19. 


xvi century, Italian. F 20. 


67 


GUNS 


Gzival-a-goulon 





CROSSBOWS, WINDERS, AND QUARRELS 
2 U eae 
86 87 88 89 


POLE ARMS 





68 


82. 
83. 
84. 
85. 


86. 


87. 
88. 


89. 


go. 
gI. 
92. 
93> 
94- 
95. 
96. 
97: 
98. 
99- 
TOO. 


GUNS AND GUN PARTS (Continued) 


Xvi century, French. F 74. 
About 1750, Spanish. F 86. 
xvill century, Italian. F 87. 
First of x1x century, Spanish. F go. 


CROSSBOWS AND WINDERS 


xv century, Spanish. G 1. 

xvil century, English. G 5. 

1612, German. G 7. 

Latter half of xvi century, Saxon. G 9. 


POLE ARMS 
oom 75, owiss. Hi 1, p:181. See A 2. 


xv century, Italian. H 3. 

xv century. H 4. 

xv century, Italian. H 5. 

xv century, German or Swiss. H 8. 
xv century, Italian. H to. 

About 1470, Swiss. H 12. 

xv century, German. H 13. 

End of xv century, Italian. H 19. 
End of xv century, Swiss. H 21. 


xvi century, Italian. H 24. 


POLE ARMS 





107 108 109 IIO 





III 


~ DAGGERS 
Viv i 
(2) v 
112 Tike Il4 115 





70 


font 
102. 
103. 
104. 
10S. 
106. 
107. 
108. 
109. 
TIO. 


III. 


112, 
rr: 
IT4. 
ILS. 
116. 


POLE ARMS (Continued) 
xvi century, Italian. H 25. 
1520, Italian. H 26. 
Early xvi century, Tyrolese. H 28, p.189; H 33. 
Mark of Milan, xvi century, Italian. H 30. 
XVI century, German. H 34. 
XVI century, German. H 35. 
xvi century, Tyrolese. H 47. 
Late xvi century, French. H 53. 
1675, German. H 62. 
XVII century, German. H 71. 


End of xvui century, French. H 77. 


DAGGERS, STILETTOS, AND KNIVES 
xv century, Italian. [ 2. 
About 1510, Swiss. I 9. 
XVI century, German. I Io. 
xvi century, Indian. I 40. 


xvi .century, Italian. I 50. 


gd 


7I 








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A 
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